mimeo - music in movement
electronic orchestra
perdition plastics cd per 009
richard barrett computer sampler tracks 3, 4, 5
justin bennett analogue synthesizer tracks 3, 4, 5
phil durrant violin electronics tracks 1, 2, 3, 4, 5
christian fennesz sampler all tracks
cor fuhler piano electronics tracks 1, 2
yannis kyriakides violin electronics tracks 1, 2
thomas lehn analogue synthesizer all tracks
jerome noetinger electronics tapes track 6
gert-jan prins electronics radio tracks 1, 2, 3, 4, 5
peter rehberg computer tracks 1, 2, 6
keith rowe guitar electronics tracks 1, 2, 6
tracks:
nickelsdorf 5
nickelsdorf 3
den haag -2.2
den haag -1
den haag 1
wuppertal 1.2
tracks 1 and 2 recorded on 20 july 1997 at jazzgalerie nickelsdorf
austria
tracks 3, 4, 5 recorded on 24 october 1997 at korzo theatre den haag
netherlands
track 6 recorded on 15 november 1997 at immanuelskirche wuppertal
germany
photography (front cover reproduced above) by dan burke
this is a cdrecording of a cdr originally released on
grob
What the hell is MIMEO
?
Q: Could you offer a few "official" words on Mimeo and history?
A: The idea of an "official" view for Mimeo is almost contradictory,
in the sense that the performers have such
varied backgrounds, as for history, I guess Mimeo reflects the doubt
laden transition from the world
of scarcity (analogue spectrum) to the one of plenty (digital).
Within the orchestra this transition is represented
by the group primitive and the powerbook quartet, a kind of "post
techno Duchampianism", a music worked
around choise and juxtaposition. Mimeo takes two features of C20
music into the C21, improvisation and
electronics. It consults/ runs/operates through a kind of internet
e-mail democracy. The question however
remains: "Will the powerbook quartet be able to contain the low tech
onslaugh of the primitives and avoid
the out-flanking manoeuvres by the dysfunctional garbage collectors,
or will the romantics hold the day
with their instruments rooted in history".
reviews:
Collected European festival
recordings made between July and November 1997 by this
all-starelec(tron)ic
improvising ensemble led by AMM's resident 'flat guitarist' Keith
Rowe. Also featured: Mego's
Christian Fennesz
(sampler) and Peter 'Pita' Rehberg (computer), Gert-Jan Prins
(electronics, radio),
Phil Durrant (violin,
electronics), Jerome
Noetinger (electronics, tapes), Richard Barnett (computer,
sampler),
Justin Bennett (analogue
synthesizer), Cor Fuhler
(piano, electronics), Yannis Kyrakides (violin, electronics),
and Thomas Lehn (analogue
synthesizers). Oh, and the
CD itself was mastered by Marcus Schmickler
(Pluramon) and is adorned with lovely
images by Dan Burke
(Illusion of Safety). The low/narrow dynamic
(undoubtedly set in place by Rowe at the
onset) lasts
about nine minutes; after that it's a free-for-all of curious
noises (of questionable root), etudes of
dragging/scraping rubbish,
single-digit harmonic tones (often lurking
in sub-audible frequency/density
ranges),all sorts
of software-derived tricks & trinkets, and on occasion,
filtered
white/pink noises. A fine crossover, should
fold one
or two of the 'human breath' holdouts into the robot-curated
musical underworld (ala 'hell' panel, low
center; Bosch,
"Garden of Earthly Delights"). Soooo Glitchy." -Hrvatski
"but the pedigree is less important than the execution: if the idea
of a free improv computer
music is old, with
quite a few striving to realise it of late, it's
surely never
been achieved with such deranged, addictive verve
Echoes, to be sure, of the rustle
and screech of AMMMusic
1966 and Henry Cow Concerts , of the thud and
blare of
Kontakte and Throbbing Gristles Second Annual Report , of
the process
dance of Alvin Lucier and
George Lewis, but with an unbelated
fearlessness and a
cross-border learning and care which are very rarely
found in one place at one time. This is a remarkable and an important
record, not
least because magnificent
tracks like ''Nickelsdorf 3'' take us so smartly back to
the drawing
board when it comes to drawing up aesthetic
battlelines: modernist versus
postmodern, avant garde
verses experimental, composed verses improvised;
these promo jargen
shortcuts continue to cut the cheese at moments determined only
by long
superseded
fashion waves. the Wire
this cd is currently sold-out
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